Written in the mid-1300s by Italian writer and poet Giovanni Boccaccio, the Decameron is a classic literary work of 100 tales told by seven women and three men over a period of ten days after fleeing the Black Death in Florence. Marco Bernard (The Samurai Of Prog) began publishing Colossus magazine in 1996 and the Colossus Project has been dedicated to bringing musicians from around the globe united for a common cause; the celebration and promotion of progressive rock.
Decameron - Ten days in 100 novellas - Part III is the third and final set of the trilogy. The set is an elaborate four CD production with a substantial booklet containing amazing artwork by Ed Unitsky and a wealth of information. There are no less than thirty-six songs put forth from different bands spanning the globe. Bernard and Steve Unruh, both of The Samurai of Prog play on three and five tracks respectively.
While the Musea Colossus Projects tend to have the same artists on every most of their releases, PART III contains many new cast members but a few such as Nexus, Jinetes Negros and Rebel Wheel are back for another round. While these compilations are fairly global in nature, this one seems to have an extraordinarily heavy emphasis on Italian bands (12), USAmerican (7) with Argentina coming in at a distant third with only (3).

Green Day’s third studio album Dookie was released in February 1994, and has since sold over 15 million copies worldwide, including 10 million in the US (RIAA Diamond certified). The album is an iconic punk-rock-pop masterpiece and one of the most influential and defining albums of the 1990’s. It spawned five hit singles that are still hugely popular songs: “Longview”, “Basket Case”, “Welcome to Paradise”, “When I Come Around”, and “She”. In addition to the original album, the super deluxe box sets will include a wealth of rare and unreleased material. The legendary Woodstock ’94 performance is included – previously released as a very limited Record Store Day vinyl release. The 4 CDs also feature 17 unreleased demos, 6 studio outtakes (3 unreleased), and a 17-track unreleased club show from Barcelona in 1994.

This 25th anniversary edition includes the original album, one disc of previously unreleased 'Nimrod' demos, and a live set from Philadelphia recorded one month after 'Nimrod' was released. The 14 track demos disc includes two unreleased Green Day tracks ('You Irritate Me' and 'Tre Polka'), plus a cover of the classic Elvis Costello song 'Allison' (previously unreleased). The live album was recorded at The Electric Factory in Philadelphia on November 14 1997. The 20-songset includes several songs from 'Nimrod', plus fan favourites from their previous albums and singles.

Four live broadcast perfomansec from: My Fathers Place, New York, 1974; Berkeley Community Centre 1975; Greek Theatre,L.A. 1980 & Arlington Theatre, Santa Barbara, 1984.

Autumn In Hiroshima is the third part of 'The Five Atomic Seasons'. A musical journey accompanying Mr. H.T. to an old Zen Monastery where he is living for a short period of time and getting introduced to the secrets of life and death. Within this rather unemotional period he learns about the contemplative views which he has to develop within himself in contrast to the desastrous life out there everybody is confronted with in these days. Instead of giving up hope after the blasts he feels an enormous energy and change of consciousness which guides him directly to something very strange…

The Blues Magoos sound less like psychedelic visionaries than a solid garage band with a taste for the blues on their debut album, Psychedelic Lollipop, though the lysergic reference of the title certainly put them ahead of the curve in 1966, when LSD was still obscure enough to be legal in much of the United States. The album leads off with the group's first and only major hit single, "(We Ain't Got) Nothin' Yet," and unlike most albums released by one-hit wonders of the mid-'60s, the single isn't the most exciting song here. That honor goes to the Magoos' cover of J.D. Loudermilk's "Tobacco Road" (which Lenny Kaye selected for his iconic garage rock compilation Nuggets), featuring some gutsy guitar work from Mike Esposito and Emil "Peppy" Thielhelm and impressive organ swells from Ralph Scala as the tune leans into a major rave-up midway through…

In 1970, Willie Dixon released an album entitled I Am The Blues. It was a brash claim, but if anyone in blues history could stand up to this bit of bravura, Dixon was the man. Over the course of his career, he penned a suitcase full of tunes that defined Chicago blues - easily the most influential strand of the blues in the post-war era.
This 1991 live set - apparently recorded for a radio broadcast from a club in Long Beach California - finds him in fine form, backed by some younger Chicago musicians, including Carey Bell on harp and none other than Butch Dixon (a relation, of course) on piano. Dixon, who sounds like he's having a terrific time, lectures the highly appreciative crowd about the history of the blues and serves up fine versions of his classics "Built for Comfort" and "Rock Me."